Top 7 best designers collection from New York fashion week S/S 2019
New York fashion week spring-summer 2019 season brings the Nomadic vibes and the emergence of the youth culture. Fringes, tassels, embroideries, and floral patterns pop up at the runway. The New York fashion week spring summer 2019 silhouettes are languid, sporty and flavor of active wear.
The key pattern of the season spring-summer 2019 evokes the exotic tropical, floral patterns and Ikat dying. Oscar De la Renta brings Floral and Geometric patterns. Longchamp brings the rich tones with several styles in a leopard print and some semi-sheer maxi-dresses in a bright ikat. Michael Kors adds the florals, beach scenic, stripes, dots, plaids, mélange knits for the collection.
Color- For Boss collection, Wilts infused the line with a soothing color palette of washed pinks, pale blues and stark white that was grounded by burgundy and navy, Longchamp brings cobalt blue, chocolate brown and clay reds. Oscar De La Renta brings the white, mustard yellow as the key hue of their collection.
Michael Kors brings joyful tropical rich palette making the style perfect for the resort lifestyle, it also had the modern nomadic vibes. The colors were having the punch of Eden Green, Yellow and bright oranges. Calvin Klein's collection is dedicated to an active lifestyle that brings the blood red as the key hue.
Silhouette- Silhouettes traveled from short and neat to long and loose, always cut with a purist’s eye. Delafontaine homed in on iconic Sixties pieces like fringed halter tops and dresses and suede shorts, pairing many looks with a thigh-high gladiator sandal, many of which were also embellished with fringe.
Fringes and tassels are the key detailing of the season and were playfully used for clothes, footwear, and bags. Based on our trend forecast for the S/S2019 Modern Nomad collection at the New York fashion week has nomadic vibes.
The fabrics varied from Silk, Crochet, Rafia, and Linen. Michael Kors has textured the collection with the leather, lace, eyelet, and matelassé.
According to Garcia “It’s a very nomadic collection,” That meant relaxed shapes done up with decorative elements and controlled exotica, fringing, tassels, embroideries and various patterns from florals to geometrics to ikats to an intricately wrought silk print featuring a montage of imagery from their summer stops.
Shapes were indeed languid, incorporating such tropes of non-specific “far away” as sarongs and caftans. There was tailoring, too, delivered with a sportswear attitude — linen blazer over charmeuse top and crochet silk raffia skirt.
Evening factors significantly into the de la Renta lexicon and the designers worked it here with an evolutionary twist. They want to guide their customers toward relaxed ways to dress at night. Thus, they all but ignored ballgowns, preferring genuine separates — silk ikat bustier over trousers; black asymmetric, fringed jacket over fluid white pants — and long dresses with languid lines, including several slit-to-there goddess beauties.
Day or night, many of the clothes looked appealing, and the designers certainly offered a different variation. However, in fashion speak “nomadic” often means eclectic, and there’s a fine line between eclectic and unfocused. With a tighter edit and fewer subplots, Kim and Garcia’s would have clarified their overall message.
The collection was highly designed but ultimately wearable — the bulls-eye in the advanced contemporary market.
Instead of piling up as he did for fall, Lim pared down. “Coming from the previous collection where we unpacked a suitcase, I wanted to shed a little bit but keep that nomadic vibe,” he said backstage.
The elements he chose to work with from each genre were quite clear. He let the spare palette, smooth, undulating curves and abbreviated shapes of Sixties Pop frame the rustic Berber textures — fringe, woven stripes, shearling — with a clean modernity. It made for a collection that was highly designed but ultimately wearable, which is the bulls-eye in the advanced contemporary market.
Silhouettes ranged from short and neat to long and loose, always cut with a purist’s eye. A woven striped vest with fringe trim was worn over a silver metallic bra top with a curvy silver button and clean white trousers. A white tailored blazer was elongated into a maxi coat with layers of fringe inspired by a Berber carpet and worn over a black tank dress with a curved neckline. The precise lines of a silver crochet caftan made it fit for a minimalist Barbarella on vacation.
The Boss collection is all about the “grounded in suiting,” it brings a collection for the young customer and so offered up more casual options inspired by Los Angeles as well. Wilts infused the line with a soft and soothing color palette of washed pinks, pale blues and stark white that was mixed by burgundy and navy in relaxed silhouettes to impart “a very light, easygoing feel.” Suits were made from crinkled cotton and paper-touch cloth for the very casual styling, while coats and jackets in a glossy nylon took on a crisp texture.
Surf, an extension of the L.A. inspiration, also influenced the collection and was evident in the details. Pants, blouses and backless dresses were fastened with long drawstrings while a woman’s jumpsuit and men’s short-sleeve tops had long zipper pulls that mimicked those of a wetsuit.
Wilts also offered up his take on board shorts and rash guards in technical nylon. Athletic stripes and a pattern abstracted from L.A. city maps adorned standout knitwear, cropped for men and ultrathin for women, as well as a great short-sleeve women’s leather dress.
The show closed with a white story of suiting and lightweight dresses that Wilts said offered up “a little more sophistication” but with the same “airy, beautiful and healthy L.A. vibe.” The collection didn’t stray too far from its elegant roots, but Wilts managed to evolve it into one that incorporates the multifaceted lives of the Hugo Boss man and woman.
Longchamp’s Sophie Delafontaine when speaking backstage about her inspiration for New York fashion week spring-summer 2019 collection was- a woman who was “elegant and chic but had a twist of eccentricity.”
This translated to a lineup with a palette of cobalt blue, chocolate brown and clay reds shown in a mix of layered dresses, tunics and vests. Delafontaine diluted the rich tones with several pieces in a leopard print and some semi-sheer maxidresses in a bright ikat.
The designer highlighted the French house’s history of leather craftsmanship with leather details that popped up throughout the runway. Delafontaine brings an iconic Sixties pieces like fringed halter tops and dresses and suede shorts, pairing many looks with a thigh-high gladiator sandal, many of which were also embellished with fringe.
Handbags are synonymous with the privately owned house; she upgraded her cross-body Amazone bag, introduced in fall; on the runway, it was reimagined in a variety of iterations, some with earthy stone details with lambskin, a few with fur and of course, more fringe. The fringe was heavy-handed and could have been dialed back some, as nearly every look had some sort of fringe accent.
The biggest story for the season was the modern range of tailoring targeting the Millennial consumers. Pants have been such a strong selling category that it was time to offer jackets to pair them with.
A soft pink linen blazer was a modern proposition for the office, cut boxy and styled with matching jogger pants. Girls will appreciate their relaxed vibe and versatility. There were also short suits (a big trend for the season) in rainbow stripes, and a polished deconstructed blazer mirroring the buttons of the aforementioned dress.
Here, buttons on the back of shirting allowed it to swing either conservative or daring, and ruffles on a pink dress rotated around the sleeves. Even the new sash bag could be taken apart to become a belt and cute little clutch.
The theme of the season was "killer instinct", with one beast who devours beachgoers and another who would eat her own young for lunch, only she doesn’t get away with it. The attraction for the designer was Both “Jaws” and “The Graduate,” as Simons’ show notes decoded, “represent transgression, the idea of the predator, and a fundamental questioning of authority — a rebellion that is quintessentially American.”
Simons’ graduates, men, and women wore traditional mortarboards and elegant black coats as robes. As for the bevy of Mrs. Rs — they seduced with high chic rather than sexiness in plentiful takes on a shift dress that nodded beautifully to mid-century couture, the luxe fabrics bunched and “crashed” for heightened surface texture, while big, jeweled broaches added sparkle. Contrasting the haute aura: slouchy sweaters over fluid skirts. In terms of fashion news, that was more or less it.
According to Raf, “The collection explores taboos and temptations, shifts in the culture and community, but ultimately, the overarching theme is love.” Missed that one? Ditto. But so what? If Simons’ outsider musings on American culture sometimes swing pretentious, at least he’s got a thought in his head. Not all deep thoughts translate seamlessly into powerful fashion. Here, Simons allowed storyline to trump clothes, which resulted in a fashion message not fully baked.
The styles were exuberant with color and pattern a very cheerful floral, beach scenics, stripes, dots, plaids, and mélange knits that were worn in combination.
What didn’t explode with color came in optic white with flowery surface texture — leather lace, eyelet, matelassé. Michael Kors worked to bring up the multiple styles of ruffled dresses, shirtdresses, retro shifts, floppy-hatted hippie fare, fringed skirts, straight skirts, elevated sweats and on and on, a big, breezy, something-for-everybody romp.
For the men, the collection exuded the same sporty attitude as the women in looks featuring surf sweaters, Baja pullovers, cashmere bike shorts, and cargo track pants. A few more dressed-up pieces included a black cotton blazer, a crushed cotton trench and a suit with short-shorts.
Kors promise of spirit, joy, and charm through his collection. Yet one came away thinking that broad diversity on the runway is best limited to the casting — models of various ethnicities, ages, and body types. In that respect, Kors is a leader.
His collection, though, would have benefited from a little less universality. With so many items and silhouettes, it started to feel as if Kors were checking various merch boxes — embellished jeans, check; swimsuit, check. Along the way, the collection sacrificed some of the distinctive tony allure that typically marks Kors’ work